CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
CONTAINER CONCEPTS
\(
!>fETAL - GLASS
An abstract submitted in partial satisfaction of the
requirements for the degree of Master of Arts in
Art
by
Ruth A. Meyer
-----
June,
1980-
PREFACE
ART is a moral law.
It gives a soul to the mind,
f light to the imagination,
a charm to sadness,
gayety and life to everything else.
- Plato
Art is universal.
It knows no language barrier.
I
find that through my visible expressions in metal and
glass I am able to communicate ideas and feelings difficult
to express in words.
I am a receptacle of feelings and
emotions that come to me from everywhere.
has ever touched my life,
up the artist in me.
E verything that
good, bad or indifferent, makes
E ach sculpture I fashion is a very
personal statement involving my entire being.
My containers express a Truth as I see and feel it;
thoughts and dreams I need to share.
I hope that my work
has substance that communicates this to others.
The viewer,
of course, will be affected by his own emotions and ex periences.
That, I feel, is as it should be.
All I ask
is that my art will evoke some response on an emotional
level.
Ruth A. Meyer
iii
DEDICATION
For Frank, with all my love and gratitude, for the
many years of loving support, encouragement, patience, and
for his enduring f aith in me and my ability.
And for Bracha, Eliezer,
'Sruly, E sther, who
Light Up My Life.
iv
ACKNOWLEDGEMENT
There are a few people who have had an important
influence on my life and work during this project.
Without their support and special attention this task would
To my Advisors, Louise Lewis
have seemed overwhelming.
and William C.
Davis, I extend a most sincere thank you
for their invaluable assistance.
I gratefully acknowledge
the encouragement, advice and gentle guidance of my friend,
Advisor and Graduate Thesis Committee Chairman, Fred
Lauritzen,
who allowed me the freedom to explore and to
grow at my ovm pace.
Many thanks to all of my friends and fellow artists
who supported me with thought and deed;
ly to Jean,
but most especial­
and to Sandy for her loving enthusiasm.
Ruth A. Meyer
v
TABLE OF CONTENTS
Page
Preface
iii
Abstract
1
Footnotes
9
Bibliography
10
Illustrations
11
Plates, Numbers I through XV
12
Appendix
46
vi
ABSTRACT
CONTAINER CONCEPTS
METAL - GLASS
by
Ruth A. Meyer
Master of Arts in Art.
June,
1980
Life begins in a container.
Life ends in a container.
Our total existence is dominated by containers.
I am ex­
ploring my relationship to containers.
Just as the spokes must be joined to the rim to create
a wheel, it is the space created by joinery and enclosed
within that defines a container.
that becomes fully important.
It is this space then
I utilize the space within
and without to communicate my thoughts and ideas about life
and living.
To me a container is a miracle.
There is
something magical, mystical about its private nature.
Is
it not its function to guard its contents from prying and
inquisitive eyes?
I cannot resist opening one.
Can you?
2
For wonderful secrets and treasures may be hidden within
its bosom.
Work is love made visible.
And what is it to work with love?
It is to weave the cloth with threads
drawn from your own heart
even as if your beloved were to wear
that cloth.
It is to charge all things you fashion
with a breath of your own spirit.
- Kahlil Gibran l
My visible expressions of love are the sculptures I
fashion out of Metal and Glass.
My containers are the re-
flections of visions, images and dreams of my inner being.
They are indeed 'charged with a breath of my spirit'.
Like all receptacles whose basic use is keeping or
containing, the box, or container, is a f eminine symbol2.
'Hy golden "Venus" (Plate I) was conceived with this idea in
mind.
The title,
Willendorf ".
"Venus" was suggested by the "Venus of
This container is my impression of the space-
age female figure;
a warrior fighting for equality and
her rightful place in the sun.
The multiple, removable
compartments represent the versatility of the modern woman.
The tactile nature of my containers will relay physic�
as well as psychological emotions to others.
For example:
The smooth roundness of the silver "Bell Tower" (Plate II)
may evoke a feeling of peace and harmony.
This 6 inch
high container is constructed on several levels.
a combination of a closed space,
It is
and the symbolic infinity
3
of the spiral, representing all of life, which escapes from
it.
Resting inside the closed container is a silver bell.
Its handle is fashioned from a tall, spiral seashell
electroformed with a coat of copper and then silver plated.
The body of the bell was raised and shaped from a flat
round of 18 gauge copper sheeting and then silver plated.
The bell is magical.
It has a very delicate musical tone.
Hold it up to your ear and ring it.
strains of an operatic overture.
I hear the beginning
Classical music is a
cherished and beautiful part of my life.
The rough-textured, biomorphic form of the silver
container "Embryo" (Plate III), housing a magnificent
Baltic geode, reveals to me the grandeur of nature and the
mystery of life.
Recycling the bone and combining it with silver,
"Bone of Contention" (Plate IV) gave me the opportunity
not only to create a lovely sculpture, but to express my
feelings about our times.
A removable chamber, located
under this sculpture, contains another small, round box.
Three golden monkeys:
no evil, '
'Hear no evil;
See no evil;
Speak
are sitting on the lid, guarding a very tiny
penny located within.
This is my statement about our
economy and the STATE OF OUR UNION.
The "Treasure Chest" (Plate V), was constructed f rom
18 gauge copper sheeting and coated with varicolored,
antique goldleafing.
There are several chambers in which
4
to store or hide your treasures.
However, it already
contains the most precious of all treasures, L 0 V E, re­
f lected in the mirror behind the sliding door located at
the bottom of this container.
" . . . And when Love speaks,
the voices of all the gods makes heaven drowsy with the
harmony".
- William Shakespeare 3
The little Cage entitled "Humanity Enslaved"(Plate
VI) serves to express several thoughts.
visible statement of my own 'escape' .
struggling to reach freedom.
filed me neatly into a box.
First, it is a
I am the silhouette
All of my life society had
I spent most of my previous
years doing all of the 'should do's'.
It took me more than
a decade to find the courage to return to school and con­
tinue my studies in Art.
vfuen I f inally did, I escaped
from my 'cage' and entered the world of 'want to do' and
freedom.
escape.
We are all trapped in our little cage.
Nobody said it is easy.
We can all
The cage also portrays the
shame of social injustice, hate and prejudice.
The trans­
parent, barely human silhouettes heaped at the bottom,
graphically depict the cruelty of man's inhumanity to man.
I chose to work in metal because it is one of the
f our basic elements of the earth.
It is one of the most
difficult for man to manipulate and control.
I enjoy the
challenge of taking this resistant matter and shaping it
into visual expressions of my own psyche.
'Conquering'
the metal is like overcoming the adversities in my life.
5
Like the metal,
I am stubborn in attaining the goals I
have set for myself.
Metal is immortal.
Metal protects.
Metal is permanent.
Its chances of destruction are slim.
Hopefully, my metal sculptures will enable me to leave to
the world a small part of my Self.
I am somewhat of a perfectionist.
I believe that my
Art must be a harmonious union of design and craftsmanship.
Because I feel so strongly about creating a 'perfect' piece
I must take care not to over-work my sculptures.
One of
the most difficult lessons for me to learn was to stop
working when the piece is finished.
The creative process is, on occasion, a painful one.
E very artist experiences periods of frustration and self­
doubt, when problems of design and technique seem insur­
mountable.
I am certainly no exception.
During these
agonizing times I find that I have to back off and retreat
into my inner consciousness to reevaluate and search for
solutions.
A good example would be the technical diff iculties I
recently encountered during the construction of the musical
"Carousel"
(Plate VII).
After completing the exterior
shell without too many problems, several frustrating ob­
stacles presented themselves:
How to create the revolving
platform that could somehow be joined to the winding
mechanism of the music box, so that the interior of the
Carousel would rotate as the music played.
6
Also,
I needed to f ind a way to wind the Carousel from the
top.
These problems had to be solved before I could con-
tinue my work.
I designed, experimented and discarded.
Nothing seemed to work.
More than once I decided to 'give
it all up', but only long enough to start again with new
determination.
And, as always, the solutions came.
I
soldered a 5 inch brass tube to the winding mechanism of
the music box.
Then I mounted the rotating platform around
the bottom of this tube.
Another brass tube, with a
smaller diameter, was inserted through a small opening at
the top of the Carousel.
Finally,
top of this removable tube.
I soldered a knob to the
With the aid of this mechanism
the Carousel can be wound by turning the knob at the top
and the platf orm revolves as the music plays.
Welcome, 0 Life:
I go to encounter for the millionth time
the reality of experience and to
forge in the smithy of my soul
the uncreated conscience of my race.
4
- James Joyce
In other words, every creative encounter is a new
experience.
Each one may present problems that never even
occurred to me during the designing process.
However, they
are usually resolved sooner or later and I am able to
continue my work with renewed vigor and inspiration.
Actually,
I seem to thrive on adversity and problem solving.
I need to create;
and have learned to accept these frus­
trations as being a part of the creative process.
In
7
spite of these problems, or, perhaps because of them,
I
love what I do and really enjoy working with my hands.
Creative people, as I seem them, are
distinguished by the fact that they can live
with anxiety, even though a high price may
be paid in terms of insecurity, sensitivity,
and defenselessness for the gift of the
'divine madness, ' to borrow the term used by
the classical Greeks.
5
- Rollo May
As an artist wbrking in the 3-D Media, my interests
extend to other artistic crafts.
At this time,
working with stained and leaded glass.
the earth.
I am also
Glass is also of
But in total contrast to the metal, glass is
f ragile and delicate.
Glass aff ords me the luxury of
including a rainbow of colors in my work.
My 'love affair'
with glass began, when I tried to find a material that
would create a harmonious union with metal.
During this
exploration I became totally enchanted with the beauty of
stained glass windows and containers.
"Painting" with
pieces of glass and lead came, has greatly expanded my
horizons,
adding a new,
exciting dimension to my Art.
It is easier in our society to be naked
physically than to be naked psychologically
or spiritually - - easier to share our body
than to share our fantasies, hopes, fears and
aspirations, which are felt to be more
personal and the sharing of which is experi­
enced as making us more vulnerable.
- Rollo May6
8
By revealing to you the thoughts and feelings of my
' secret heart',
fantasies,
I have attempted to share with you MY
hopes, fears and aspirations.
my Art speak for itself.
Ruth A. Meyer
Now,
I must let
9
FOOTNOTE S
,
1
Kahlil Gibran, The Pro het (98th ed. ; New York;
Alfred A. Knopf, 1977) pp. 2 , 28.
2
J. E.
New York:
Cirlot, A Dictionary of Symbols (2nd ed. ;
Philosophical Library Inc. , 1976), p. 31.
3william Shakespeare, Bartlett' s Familiar
Double ay & Company, Inc. ,
(8th ed. ; New York:
4James Joyce, A Portrait Of The Artist As A Youn Man
g
(New York:
W. W. Norton & Company, Inc., 1975) p. 17.
�
5Rollo May, The Coura e To Create (New York: W. W.
Norton & Company, Inc. 197 ) p. 94.
6Rollo May, ibid, p. 8.
10
BIBLIOGRAPHY
York:
�bols, 2nd
Cirlot, J.E . , A Dictionary of S
Philosophical Library Inc. , 1
6. p. 31.
ed. , New
,
Gibran, Kahlil, The Pro het, 98th ed. , New York:
Alfred A. Knopf, 1977. pp. 2 , 28.
Joyce, James, A Portrait Of The Artist As A Young
Man, New York: W. W. Norton & Company, Inc. , 1975. p. 17.
May, Rollo, The Coura ge To Create, New York:
pp. 8, 94.
Norton & Company, Inc., 1975.
W. W.
11
ILLUSTRATIONS
PLATE S
I
-
XV
12
PLATE I
"Venus"
18 gauge copper, acid etched and gold
plated.
Three Jade stones.
6% inches high; 2% inches deep;
inches wide
2%
13
14
PLATE I
"Venus"
Interior View
15
16
PLATE II
"Bell Tower"
18 gauge copper, silver plated, with 2
pearls.
Container: 6 inches high;
2� inches in
diameter.
Bell:
4 inches high;
1� inches in
diameter
17
18
PLATE III
"Embryo"
Cast Sterling Silver with European
Geode inside.
With two pearls:
one
pink pearl inside;
one black pearl under
the bottom of container.
2� inches high;
1� inches deep.
1� inches wide:
_19
20
Plate IV
"Bone of Contention"
Beef bone.
bottom.
Sterling Silver top, lid and
1� to 2� inches wide;
4� inches high;
1 to 2 inches deep.
21
22
PLATE IV
"Bone of Contention"
View 2
23
24
PLATE V
"Treasure Chest"
18 gauge copper, gold-leafed and
antiqued.
1 to 2 � inches wide;
4� inches high;
2� inches de�p.
1 to
25
26
PLATE VI
"Humanity Enslaved"
18 gauge copper.
3� inches high;
2 � inches deep.
Acid, patina and rust
3 inches wide;
c
27
28
PLATE VII
"Carousel"
18 gauge Dixie Gold, gold-leafed and
antiqued.
Interior and liner are made of golden
plexi-glass.
Music Box, located in bottom, plays:
"It's a small world", as interior
platform with miniature musicians
rotates.
8 inches high;
Six-sided.
4 inches in diameter.
30
(
PLATE VIII
"Reliquary"
Acid etched
18 gauge Sterling Silver.
design on front and back.
Topped by an
Amethyst.
Container lined with red plexiglass.
5 inches high;
deep.
2 � inches wide;
2 inches
l
31
32
PLATE IX
"L'Chaim - To Life"
Gold-plated Sterling Silver Goblet;
Raised from a 6 inch round sheet of
18 gauge silver.
6% inches high;
2% inches in diameter.
c
33
34
PLATE X
"Solar Serenade"
Solar powered Music Box.
Will play
outdoors when skys are sunny.
May also
be played indoors with the aid of a 100
to 15 0 Watt light bulb.
"My Music Box
\\Then activated plays:
Dancer that noone can see".
Solar unit and music mechanism is encased
in a container of 18 gauge Dixi Gold.
Top center has small saphire.
3 inches high;
4 inches square.
35
36
PLATE XI
"Spice Box"
Sterling Silver, 18 gauge.
With 2
saphires.
One on top;
one inside.
Comes apart in center.
Has 3 compart­
ments.
Velvet lined.
4 inches high;
diameter.
1� to 2 inches in
c
37
j
I
I
38
PLATE XII
"Till the End of Time"
Stained and leaded Glass Clock.
in diameter.
Battery operated.
string pulley Music Box.
8 sided,
15 inches
With
handcrafted solid Walnut Frame.
39
40
PLATE XIII
"Skyblue-pink reflections"
Stained and leaded Glass Box.
3 inches
high;
6 inches wide;
4� inches deep.
L
41
42
PLATE XIV
"Blue and Gold Bottle"
Stained and leaded glass four-sided bottle.
Inserts of Dixie Gold and mirror
6� inches high;
3� inches square.
43
44
PLATE XV
"Splendor in Glass"
Stained and leaded glass window.
Handcreafted, stained Oak frame.
2 1 inches in diameter
45
46
APPENDIX
47
APPE NDIX
Technical Involvement.
Finding and exploring new methods of joinery.
Coating the f inished metal surfaces with gold and
silver plating, gold-leafing and patinas.
Exploring and using new Surface E mbellishments,
textures, engravings and inlays of bone, Abalone shell
and Turquoise.
Electroforming over non-conductive materials: i.e.
bone, wood, wax, plastic and found objects.
Perfecting a working formula of finely divided
copper or bronze filings to be used in the above process.
Raising, chasing, sinking and f orging of metals.
Materials Used.
Copper, Bronze, Silver,
Gold, Dixie Gold, Nickel
Silver, Lead and Glass.
Seashells, Plexi-glass, Wood, Bone, Fabric,
objects, pre-formed metal shapes;
precious Stones, Pearls and Beads.
found
also precious and semi­